#it just feels like... thematically satisfying

[gaydogmarriage]

i know it's a semi popular thing to have cyno experience some kinda illness/general unwellness upon receiving the secont fragment of hermanubis but personally i like the interpretation that he rly has grown so resilient and in tune w hermanubis' spirit that he had no issues. just accepted it like second nature. fits right in

[tinyfantasminha]

👍

[confetti-cat]

✒️📜

[llycaons]

if I reread tgcf I might come to slightly different conclusions bc I've forgotten a lot and I remember what annoys me best. but I've read it twice and I've had similar issues for ages so I don't think so

[linkcharacter]

Oh I have so many thoughts on aroace Curly, I think it brings so much on the table when analyzing the game's story.

Amanormativity ties in with the reoccurring mentions of the nuclear family, from Wrong Organ making 1950s mock advert posters, to Swansea talking about how getting a wife and kids didn't bring him any fulfillment in life.

In the cake cutting nightmare sequence, where Jimmy talks with Dream Curly about the mediocre cake, Dream Curly begins to talk about how sometimes you can only get the subpar stuff in live. Sometimes he'll get promoted, buy a house, fall in love. But other times he'll just have some awful fucking cake with his friend.

I think there is that subtle implication that Jimmy does buy into Amanormativity, with him projecting his beliefs on Dream Curly that a platonic relationship is lesser then a romantic one. But we never see Curly suggesting that he wants such a thing in the pre-crash.

With Jimmy thinking that Curly has everything in life, except for the desire (although I think Jimmy would view it as Curly not having the skills for it) to get a romantic partner, he would heavily lean into getting the one thing that Curly couldn't get in life to one up him.

THATS EXACTLY WHAT IM THINKING!!! AMATONORMATIVITY BE DAMNED!!!!

Looking at Mouthwashing through an aroace lens is interesting

"Jimmy thinking that Curly has everything in life, except for the desire", well said, well said! And references to the nuclear family fit in very cleanly thematically for Mouthwashing.

Jimmy leaning into amatonormativity is a smart observation. Jim internalizes all the social norms and standards on what you have to do to have a normal and desirable life, who sees everything Curly has and what Jimmy wishes he had, and is offended that Curly isn't satisfied, that he has the "audacity" to be unhappy. Curly meanwhile only wishes for his life to be something he doesn't have to run from, because by all means, he has already reached a point where he should feel accomplished, but isn't. Curly doesn't want to be a freighter captain his whole life, he doesn't want to settle with his sustainable position, he just wants to be happy. Like Swansea who has reached the "ideal" outcome of his life, having a wife, kids and a good career, it will never feel as good as embracing all what society deems undesirable yet right for you.

Jimmy does imply to seeing himself as lesser as a friend, "fall in love" being a goal and a "cake with a friend" being something he "has to settle for", it's all in the subtleties with underlying themes of "what you're "supposed to want" by society's expectations" against "what feels right for you". Jimmy is frustrated that Curly is going to "leave the dirt behind him", when in actuality, letting the crew and him go is the last thing Curly wants. Curly wants to be with his friends, he deeply cares about his crew, and about his close friend.

Mouthwashing as a whole reads to me as platonic through and through. Swansea and Daisuke having such a meaningful familial bond, Curly and Anya being sweet, playful and caring without romance, Anya and Daisuke having something of a siblings dynamic are dear to me. Also it's really rare to get to see representations of "toxic friendship" in media. Its always toxic romance this, toxic yaoi that, toxic family there, however in reality, friendships aren't excluded from being as rotten and abusive as the others, yet they're often overlooked. Jim and Curly are especially unique in this way. It's very impressive how they managed to showcase Jimmy's mistreatment of Curly in such a platonic way (at least that how I read it). Jim too, like Curly, in general avoids hints at romance and attraction explicitly related to him during his gameplay, not with Curly, nor with Anya (dear god thanks for that at least). It's all spite, annoyance and parasitizing off of these two. (That man's dry and lowkey hates everyone and everything) No attraction attached, no desires except hoping it hurts.

Curly to me is very much aroace, or at least on the spectrum. Like, the trivia fact that one of Curly's fondest memories is that of his friends putting in effort to make a shitty awful cake, tells us all we need to know on how dear his friends are to him. Platonic relationships mean so much to Curly, even when it's Jimmy fucking Mouthwashing, the worst friend ever imaginable.

[unboundprompts]

hi, i love your prompts!!

can you do prompts/suggestions for revealing a character’s tragic backstory to the other characters? mostly with like hurt/comfort or angst. please n thanks!

How to Reveal a Tragic Backstory

check out these sources:

The Backstory Drip: Helping Writers Become Authors

When Do You Reveal a Backstory of a Character?: Writing Stack Exchange

Writing Character Backstory That Feels Real: Now Novel

1. Establish Context Before the Reveal

Before revealing a tragic backstory, it's crucial to lay the groundwork. Give the audience some clues or hints about the character’s pain or past struggles without fully explaining it. This builds curiosity and tension, making the eventual reveal more satisfying.

Example: Throughout the story, you might show the character having nightmares, flinching at certain triggers, or displaying a particular behavior (like pushing others away) that hints at something painful in their past.

2. Choose the Right Moment

A tragic backstory should be revealed at a moment that feels natural and emotionally charged. Don’t force it into the plot. Often, it works best when the character is vulnerable, perhaps during a quiet moment, when they feel safe enough to let their guard down, or during a crisis when the emotional dam breaks.

Example: The character might reveal their past during a moment of intense emotional vulnerability, like when they think they’re about to lose someone else they care about, or when they are experiencing a setback that mirrors their past trauma.

3. Keep It Uncomfortable

A tragic backstory is rarely easy to talk about, and the discomfort surrounding the reveal can be just as important as the backstory itself. Let the character struggle with the words or try to push the conversation away, only to be coaxed into speaking. This makes the moment feel more authentic and raw.

Example: The character might start the conversation with, "It’s not important" or "I don’t want to talk about it," before finally giving in to the other character’s gentle probing or a shift in the situation that forces them to face the truth.

4. Show, Don’t Just Tell

Instead of simply stating the tragic event, show how it affects the character through their actions, memories, or how they interact with others. This deepens the emotional impact, allowing readers to experience the pain with the character rather than just being told what happened.

Example: Rather than saying, "He lost his entire family in the fire," you could show how the character avoids talking about their family, has flashbacks when they see something related to fire, or even flinches at certain words associated with their trauma.

5. Use Symbolism

The tragic backstory can be tied to something physical, symbolic, or thematic in the narrative. A certain object, place, or even weather can be used to evoke memories of the past, creating a deeper emotional connection.

Example: If the character lost someone they loved in a car accident, perhaps they always have trouble getting into cars, or they wear a piece of jewelry that reminds them of the person. When this item or memory is triggered, the character opens up about the event.

6. Layer the Reveal

Sometimes, a tragic backstory is revealed in pieces over time. A character might not reveal everything all at once, but bits and pieces come out as the story progresses. This gradual reveal can allow you to build emotional complexity and deepen the audience’s understanding of the character.

Example: The character might first mention a loss in passing, then later reveal more details about the circumstances surrounding that loss. In a climactic moment, they might confess the full extent of their pain, perhaps adding a new layer of guilt or unresolved anger.

7. Avoid Making It “Too Perfect”

Tragedy isn’t always a neat, tidy narrative. It’s often messy, complicated, and filled with unresolved feelings. Don’t try to make the tragic backstory feel like it was meant to be "healed" or resolved easily. Characters are shaped by tragedy, and the wounds might never fully heal.

Example: The character might express regret or resentment, even years later. They might struggle with feelings of guilt, or they might have difficulty trusting others due to their past experiences.

8. Don’t Overload the Backstory

While tragic backstories are emotionally powerful, too many details can overwhelm the reader or distract from the present story. Instead, focus on the most crucial parts of the past that shaped the character’s current behavior, rather than telling every painful moment.

Example: Rather than describing an entire traumatic event in detail, focus on how it emotionally affected the character. Perhaps the character doesn’t want to remember, so the backstory is revealed only through emotional reactions to certain triggers or through small, painful details.

9. Use the Backstory as a Motivator

After revealing the tragic backstory, the character’s actions should be influenced by it. Their trauma will affect their decisions, and it’s important to show how it shapes their journey going forward.

Example: The character might reveal that they lost someone to violence, and that’s why they became a protector of others. Or maybe their tragic past has made them emotionally distant, but in the course of the story, they gradually learn to trust and open up.

10. Make the Reveal Matter to the Plot

A tragic backstory shouldn’t just be there to elicit sympathy. It should tie into the character’s motivations, fears, and relationships with other characters. If the backstory doesn’t serve a purpose for the plot, it can feel like unnecessary exposition.

Example: If the character is hesitant to form deep relationships because of their tragic past, this fear will be challenged by their interactions with the other characters. Perhaps their backstory also explains why they’re so skilled in a certain area, giving the plot a practical reason for them to be involved in the current situation.

Writing Prompts Revealing a Tragic Backstory

-> feel free to edit and adjust pronouns as you see fit.

She leaned against the worn table, fingers tracing the edge of a chipped mug, not meeting his eyes. "I didn’t always… I wasn’t always this," she began, her voice thin, strained. He sat across from her, waiting, but not pushing. She swallowed, her chest tightening. "There was a fire, years ago. I was just a kid. My parents—" She stopped, shaking her head, as though the words couldn’t pass her lips without choking her. "I don’t even know how I made it out."

She reached out to touch his shoulder, a gesture of comfort, but he recoiled as if her hand was burning him. His eyes widened, panic flashing across his face. "Don’t," he muttered, backing away, his chest rising and falling with rapid breaths. "Please don’t." She stared, mouth dry, unsure what she had done wrong, but the way his face twisted as if remembering something painful told her everything she needed to know.

They jolted awake, heart pounding, gasping for breath as the remnants of the nightmare clung to them. The other person, already awake, noticed and reached out, pulling them into their arms. "Shh, it’s okay," they whispered softly, but the words barely registered. "I couldn’t save her," they choked out, voice raw. "I promised, but I—" The sob broke free before they could finish, and the other person tightened their hold, pressing their forehead against theirs. "You didn’t fail," they whispered, offering the comfort of their presence. "You're safe now."

They were walking in silence, the soft crunch of gravel beneath their boots the only sound between them. He kept his head down, eyes fixed on the ground, his hands shoved deep in his pockets. Then, without warning, he stopped. "I watched him die," he said, his voice rough, as though the words were hard to spit out. She turned, startled by the suddenness, but he didn’t meet her gaze. "My brother. He bled out before anyone could help." His jaw tightened, eyes distant. "And I couldn’t do a damn thing."

Her laughter echoed in the room, but it faltered when she saw his face. He wasn’t laughing. He was staring, distant, lost in some memory only he could see. "What’s wrong?" she asked, suddenly concerned. His eyes snapped back to her, and he forced a smile that didn’t reach his eyes. "Nothing." He turned away quickly, but not before she saw the tear that had escaped down his cheek. "I just... you made me think of my sister."

[solitairedeere]

i was never as optimistic about the ending of bnha as some villain stans were, but i never thought it'd end so badly it left me wondering why horikoshi ever bothered to humanize the villains or make them complex characters at all.

like-- i expected that at least 1-2 of the 3 villains who were heavily foreshadowed and outlined by the narrative as people to be saved would be, you know, actually saved. i didn't think that was a high bar. i've been let down before in fandoms where everyone was certain a character would live and then they didn't, so i tried to keep my hopes low. AND YET.

what happened to tomura was upsetting, but i wasn't that shocked after how disinterested the manga has seemed to be in him for like, the past 100 or so chapters. a bit surprised, because you'd think if anyone would succeed in the 'saving' mission it would be the MC, but whatever. dabi, well, they've spent a lot of time showing the way his quirk destroys his body even before this arc, so that also sucked but at least it didn't feel completely out of left field.

........but they're not even letting toga live???

i just-- what have we even been doing here? when zero out of the 3 characters that were marked out for saving were actually saved, you have to acknowledge that something has gone seriously fucking wrong with the storytelling. not even just from the perspective of a villain fan but from the perspective of someone who likes stories to be thematically consistent or satisfying in any way.

you can set up an expectation of these characters being saved and then subvert that and turn it into a tragedy- if done well that could even be worthwhile and interesting. but you can't turn it into a tragedy and then just... keep trucking along with the happy ending messaging and act like anything in the manga has been resolved and that the characters have somehow successfully completed their heroic origin stories.

like, maybe i shouldn't have expected this much from a shounen- at the end of the day it is still a shounen so i didn't expect to feel that it truly satisfactorily wrapped up all the themes it brought up around societal ills. but i expected it to at least resolve those things in a shounen-y way where they punch the problems and help these specific people and then you can feel good assuming that the state of things will continue to improve in the post-canon world of the manga.

instead we got... uh, none of that. the story refused to answer a single one of the larger questions it's been outlining for the past 400+ chapters. in the end, it was all flash and no substance, which again could've been fine, if it weren't for the way the story seemed to spend significant chunks of time trying to delude you into thinking it had substance.

truly makes me wonder what horikoshi thought he was doing the entire time. can it really all be blamed on burnout? the most that can be said for this ending is that it is, well, an ending. fuck dude, it is that.

and that's just... such a sad way to end a project that took up 10 years of your life.

[ichijokaoru]

one day i think it'd be interesting to write up what i dislike about the kuuga novel and what i actually dont mind and what i can totally see as an interpretation actually when i look at it/characters through a certain lens but still maintain that i dislike etc… also just how my character interpreations vary because i have a separate set of headcanons and understandings for various characters (like for example, regardless ichijou is a closeted gay man to me but the specific flavour is different for show+novel vs just show) within the novel vs with just the show but all that would require me to reread the kuuga novel and i dont particularly wanna do that

my kuuga novel opinions are... mixed (and I do personally view it as more of an off shoot rather than part of proper canon when engaging with it--post-canon to me is post-show not post-novel y'now) but one of the things I absolutely just didn't like, no nuance, was tsubaki's characterisation... like tbh i should maybe reread it just to see, but i remember just really disliking how tsubaki was written :|

[tossawary]

There has to be a term already for when stories accumulate this... "narrative debt" that they end up not paying back. When stories fail to stick the landing when it comes to character development or thematic development, a mismatch between what the beginning of the story apparently constructed and what the final scenes ultimately ended up being.

I want to compare it to "The Empty Mystery Box Problem", almost, where the story lays on twisty element after twisty element to pull you into some great mystery, only to ultimately reveal that the writers never had a cool explanation for any of this and were pretty much just jerking the audience around to keep them watching for as long as possible. It has a similar feeling of investing your attention, only to get nothing satisfying and to feel betrayed for caring.

There's a disconnect between author and audience. A sense that perhaps the author, who has their own visions in mind, is not even aware of what they ended up depicting in the execution. As an audience member, I do sometimes have to ask myself, "Was I just projecting my own arcs onto this while the author wanted to do something different? Am I upset just because I didn't get the resolution I anticipated?" And sometimes I come to the conclusion that, no, if the author always intended for the story what they claimed, then they did it badly, and the parts that I found resonant were definitely there, just... perhaps done accidentally and/or carelessly.

Like, let's say that there's some show that ends up depicting a protagonist who has substance abuse issues.

The show repeatedly shows the audience that the protagonist feels dependent on alcohol, we see lots of shots of them drinking, often at very inappropriate times. As the plot goes on, the show even appears to be showing us the consequences of this addiction, in that the character's relentless over-drinking apparently negatively affects their job performance, their love life, their relationships with friends and family. The character is miserable, perhaps even explicitly expresses some of their depressed feelings, and it seems obvious that taking a known depressant is a big part of this tangle. There may even be some looming threat that if the protagonist doesn't get this issue under control or get help, there will be even more serious consequences.

So, we've spent aaaaall of this screentime dwelling on this obvious character problem, but then... well, one way for the story to handle it poorly is to just not handle it. It's just never really addressed. A potentially great character arc about someone struggling with addiction just fizzles out because the plot climax takes up so much space that you think... maybe the writers... somehow forgot that they made unhealthy alcohol dependence an enormous part of the character's life? Maybe???

Like, there's not even a visual cue at the end that the character is now making an effort to tackle their addiction or something. There's not even a single line of dialogue in the epilogue to tell us that the protagonist went through rehab and they're sober now or something. What you may have read as a very serious problem just vanishes overnight. A story element that ate up aaaaall that screentime just never gets any satisfying resolution.

I'm not saying here that I need to see the story handhold a character through the rehabilitation process. It's not a requirement that all characters overcome their addiction by the end of the story. Sometimes, a story ends a little sadly, yeah, or is an outright tragedy. Sometimes, one problem is solved and another sticks around. I just think it's disorienting when I THOUGHT that the story was trying to actually say something about substance abuse, they spent all this fucking time showing us scenes that revolved around that element, and it turns out that the writers were like, "Oh, yeah, I guess! We weren't really thinking about that as a serious problem. We mostly just had the protagonist drinking all the time because it looked cool, and I guess that part ties in pretty well with how they were fucking up their life, actually, but we dropped it because we didn't think it was important."

The OTHER way for a story to handle an arc like this poorly is to do a total reversal at the end. The author is not only blissfully unaware that they have been telling a nuanced story about substance abuse until now, they don't even think that addiction is real. The ending yells really loudly: "Not ONLY is this character's drinking actually NOT a problem! It helps them save the day! And also every other character has been super mean to them about this; everyone else needs to grovel at the protagonist's feet and apologize for saying super mean things like, 'Don't you think it's inappropriate to show up drunk to a child's birthday party?' Because the WORLD would have ENDED if the badass protagonist hadn't been doing the objectively correct thing of being hammered all of the time."

At which point, the only thing to do is leave the show behind, because caring about it is a waste of time. But it's hard to stop thinking about it because the show paid all of this time... into a narrative element that felt SO obvious and crucial and like it was going somewhere... and it was an accident??? Like, the story was good when it was making all of these interesting promises, until the end came around and it turns out that it couldn't pay the bills and/or never had any intention of paying.

"The Empty Mystery Box Problem" except the box is wide open the entire fucking time and there's cool stuff in it, but the writers apparently aren't paying attention to the box or what they're putting in it!?!?!

[lullabyes22-blog]

Arcane S2 and its Critiques Therein..

There is a reason why I side-eye the 'arcane critical'-critical crowd who insist we cannot equate real world politics with fictional universes, or project our 'leftist' agenda on a world of pretend.

There seems this undercurrent of condescension in the attitude, as if it stems from people who have perhaps not considered why they enjoy the shows that they do, or how a certain character or plot makes them feel; either positively, by representation, or negatively, by erasure.

And yet... we are drawn to stories that resonate with our own experiences.

These stories, in turn, are written by writers who live in our world and who often pull their ideas directly from it. We gravitate toward characters who are reflections of ourselves, and avoid the stories which cause us discomfort for whatever reason. Even 'guilty pleasures' stem from an inner desire to explore themes or issues which we know exist (and may be problematic in social spaces) but which, through fantasy, become more bearable because we can safely distance ourselves from what is real.

Ultimately, most writers put something of themselves into their work. A little sliver of self always peeks through the cracks; a touch of idealism here, an emotion felt there, a comment on a political issue sprinkled somewhere in between.

It does not mean that fictional universes are a perfect mirror image of our reality; but it behooves us not to forget how influential 'RL' has been, and always will be, when writing fantasy or science fiction.

Tolkien was undoubtedly inspired by his experiences of war, all of which would later bleed into the pages of his Middle-Earth tales. Even in a tiny microcosm, I notice how life events and current political attitudes affect the way I write my stories, whether they are fan-based or original pieces.

We live in chaotic times. Fiction, at its crux, mirrors that chaos, because it comes about as a result of real life. As much as we wish to escape from harsh truths or present-day issues... they still seep through the veil between imagination and reality.

Escapism should not blind us to the truth that stories are products of our environment, and therefore, inevitably political.

With that in mind, there's something innately disingenuous about insisting that Arcane is somehow separate from real world issues - when, on so many levels, it borrows from real world problems and confronts its viewers with topics which are inherently political: poverty, inequality, state violence ... even the underbelly of the Piltover elite and their dealings with the undercity echoes how we see corruption occurring in governments worldwide.

That the show, by S2, reduces these issues to aesthetics - for instance, the writers admitting they wrote up Vi's backstory with her parents being killed by Enforcers to introduce an element of conflict into hers and Cait's future romance - or, worse, resolves these conflicts without any further nuance - like Sevika becoming a Zaunite representative on a Council that plainly disdains her, and the narrative coming away thinking this is acceptable in lieu of actual independence - is, in essence, disappointing for the themes that were promised.

It feels like the writers realized halfway through writing these plots, that they either did not have the time, budget, know-how or interest in delving too deep into these gritty, tough-to-solve sociopolitical pickles, and instead opted to pander to a (admittedly broad, myself included) subset of viewers who just wanted a sapphic couple with soft angst and sweet reconciliations to contrast all of the ugly machinations happening around them, while the rest of the cast was going through literal hell.

This is not enough to say we shouldn't enjoy Arcane for what it is. I've made plain, on several occasions, that I found the finale visually spectacular, thematically satisfying, and a masterpiece in terms of animation.

And yet, what elevated Arcane S1 to such high levels of acclaim was also its willingness to probe the uncomfortable issues surrounding power, control, exploitation, abuse, morality and free will; as well as, at least initially, its decision to offer a critical lens into how we approach each of these themes, as refracted to a cast of different characters.

We can acknowledge these strengths while simultaneously recognizing their flaws.

Arcane is far more than 'just a video game show.' It's a beautifully designed piece of fiction that deals with so many real-life issues, in spite of its fantasy setting. Yet the criticism that 'we cannot project real world politics onto it' feels inherently unfair - because no story ever exists in a vacuum, least of all one which confronts us with stark contrasts between poverty and wealth, oppression and liberation, authority and agency.

There is nothing wrong with simply wanting to sit back and enjoy the ride. But please spare me the holier-than-thou attitudes whenever people try and open up discourse on why certain shows should take responsibility when it comes to the messages they broadcast.

Because, believe it or not, there exists a slew of media that, in fact, sticks to the landing re: difficult questions about humanity, society and politics. Media that does not ignore, diminish or erase people who are struggling, precisely because those very same issues resonate in real life - and thus, have real consequences for real people.

It isn't asking much that audiences look past the veneer of aestheticism to find the beating heart within stories. Nor should we be belittled for wanting to hold writers to account if the world they create becomes nothing more than a pretty backdrop.

This can be done without hate-mongering, derision or critique; in fact, I'd go so far as saying that critique is a necessary aspect of engaging healthily with art, media and fiction.

At the end of the day, writers are responsible for the world-building of fictional universes and their plot choices; and both things do have an impact on those who watch those worlds come to life. That doesn't mean writers need to pander to every opinion out there; hell, playing to the gallery (and the shippers) rarely ends well, and more often than not detracts from the message of the tale.

But it does mean we can hold storytellers accountable for the impressions they leave behind, for better or worse - especially when said impressions further compound real world experiences of inequality, erasure or prejudice.

As consumers of media, let's be willing to dig beneath the surface to uncover the meanings of story. Let's not settle for anything less than writers who do everything possible to deliver compelling narratives that ask questions which reflect our humanity in meaningful, resonant ways. Let's enjoy our sweet sapphic ships and our goofy doomed sciencebros, while still looking closely at all of the other issues bubbling beneath the surface.

Let's keep up the healthy dialogues and stop dismissing criticism as merely spiteful.

Escapism is only truly fulfilling when, upon returning to the 'real world,' you feel that something has changed inside you; where you have been enriched, uplifted, inspired even... and sometimes, yes, educated.

Stories carry the weight of imagination; and we must allow ourselves to be transformed by wonder. But never forget to question the reality that is portrayed. Stories are born out of humanity, after all, and thus carry within them fragments of us. When we embrace fantasy, we also learn a lot about the way we see ourselves, and the kind of world we choose to live in.

And if all else fails, I guess we'll have fanfic to fall back on.

But that is another post, for another time.

<3

[suzukiblu]

WIP excerpt for derpsheep behind the cut; “a fake cryptid and a real romantic”. (( chrono || non-chrono ))

Tim is having a terrible night, by which he means the Batman is currently looming over him like a creepy eldritch nightmare of a gargoyle while he’s trying to go meet Superboy for the patrol/hunting-date they scheduled and the Batman is not at all taking the “go away, I have a date” hint. 

Said “hint” for the record, was Tim explicitly saying the words, “go away, I have a date”. The Batman apparently thought that meant Calendar Man was causing trouble, though, so now Tim’s being Bat-stalked and has the Batman in his shadow, which is just really, really embarrassing in this situation. Like getting dropped off for a date by your weird neighbor who used to babysit you sometimes or something, he doesn’t know. 

Definitely embarrassing, yeah. Just–way too many kinds of embarrassing. He bets Superman isn’t dropping Superboy off right now. 

Ugh.

“Look, I promise, this is not a ‘Bat’ thing,” he says. “In no way whatsoever is this in fact a Bat thing.” 

leaving Gotham? the Batman asks. 

“No,” Tim says with a sigh, because he knows the Batman’s answer to them not leaving Gotham is gonna be– 

Bat thing, the Batman says, inexorable and inarguable as a snapped grapple and the force of gravity. 

Tim suffers.

“It’s just a date, B,” he says in exasperation. “I don’t follow you to go see Catwoman or Talia al Ghul, do I?” 

you do, the Batman says. 

. . . dammit, Tim thinks. The Batman wasn’t supposed to notice that. 

“Okay but Superboy is not a criminal who’s trying to use me to case a place for a thematic jewel heist!” he protests, puffing up Robin’s feathers indignantly. Most of the time the Batman understands Robin’s body language better than anything, really, and Tim has to admit there is something sort of satisfying about being able to flare up to twice his size when he’s irritated. At least on some level, anyway. “Or an assassin who might wanna feed me to her evil dad’s weird magic pit!” 

not feed, the Batman says. awaken. 

“That answer is no less creepy and unnerving than the last four times, I hope you know,” Tim tells him. “Not in the least because you’ve never clarified if the League is trying to awaken something in you or something in the pit.” 

“Tt,” the Batman says, which is honestly even more creepy and unnerving, given how rarely he actually makes actual noises. Or, like–correction: makes actual noises that sound, like–human, almost. The screeching and wailing and screaming is all pretty standard, but human noises . . . yeah, no. 

Tim already doesn’t like to talk to the Batman when he’s in his “human” aspect as it is. He isn’t some self-absorbed socialite or smarmy politician or shallow asshole with no genuine interest in other people, is the thing; when the Batman actually uses his voice, Tim can hear what that voice actually sounds like. 

As far as Tim knows, when it comes to humans, literally only Dick’s ever been able to stand the actual sound of the Batman’s voice. Jason apparently just, like–could grit his teeth through it, or hide behind Pennyworth. Tim, personally, forgets he has teeth, when he can actually hear the sound of the Batman’s voice. He doesn’t even know what Selina hears, but he does know she does most of the talking when she and the Batman are out together. And he still feels bad for Superman, after the sister-city gala incident with Metropolis.

Definitely he still feels bad for Superman after that.

[autumnbrambleagain]

everyone jokes about how they'd be different if they were a vampire wizard immortal they wouldn't lose track of mortal life they'd be So Normal About It but in playing a single morrowind save for like a year now with a ton of mods im experiencing the strange growth of my characterization in it from powerless outsider with no home to wizard to becoming increasingly strange to maintain power and like

okay see i can just. you can't teleport infinitely but my alteration and vampire Jumps are so good i can just literally launch off and land anywhere in the world. space no longer matters to me. a 10 minute walk is now a 10 second jump.

vampirism means i'm immune to normal weapons and my stats are so dang high i can just stand there and even with MDMD and the 4nm PVP mod most things can't really hit me or hurt me and i have 100 ways to kill anything at will. i have so many limiting mods on to keep me from going Broken but i still have destruction 130 strength 140 stealth 150 and like it took me like a real life year of playing on and off to get that far so it feels Earned and there was a real sense of progression (excluding the vampire boost jump) but it's made me Strange power makes you Weird

and having such absolutely drunken insane power over mortal life really fucks with me doing the main quest for the first time in a decade where like

the erabenimsum are like "you'll... have to kill the warlike leaders of our tribe. we warn you they are very powerful" and i'm just like. what. you guys were my neighbors for a year at this point i could have just killed a bunch of you and changed your society in 30 seconds and you'd have let me yeah ok. hold on. brb. and i just kind of pop in and explode everyone and come back like yeah that was easy no worries.

and like i started this game deeply immersed, like taking everything slow eating different foods every day to satisfy my ashfall meters doing paintings of places i liked hanging out fishing and now i'm just this vampire Force of Will teleporting and flying and destroying things with a black-eyed glance and i'm playing with doors of oblivion and finding there is such a Bigger World out there like

i think the actual natural progression of this character is complete disassociation with the world and graduation from like ALL of this this fucker is piercing the Aurbis and just Leaving which you know is like

a distressingly resonant thematic with my own experiences and that i am playing this character as my 1:1 self insert like haha yeahthat. that. that hits a lot closer to home than i wanted it to. as above so below no matter how many onion layers huh.

[sequence-trotter]

With Sunday's drip marketing, one reaction I've seen is surprise that he's still on his same path toward the same goal of paradise.

But of course he is! HSR patch 2.2 Penacony is a long string of scenes where Sunday is like "debate me, please debate me, I feel a little bit like I'm going crazy here, how are none of you seeing what I'm seeing, someone please debate me." He sees a cold and uncaring logic to the world and desperately wants to be wrong about his conclusions.

And no one debated him. They overpowered him and broke his illusion via power rangers distress call and "severed [his] Path with their hands," as he put it, but no one really debated him in good faith on the terms he set. Of course he hasn't changed! No one was even faintly capable of articulating an alternate position!

unacceptably long-ass boring post incoming. if you click the read more you have only yourself to blame. i had to put in subheadings for navigability this post is a MESS

(authors note: in an absolutely embarrassing travesty i managed to hit the picture limit per post so this will be a post in multiple parts. this part covers Sunday's goals and Robin's initial response. A follow-up post will cover Firefly and the Astral Express's response, as well as the final confrontation and what this all means)

(double note: due to post length limitations this ended up being three reblogs long. completed version here.)

(A note before we set off: I do not think the HSR writers are very good, or more charitably, I think the constraints under which HSR is made pretty much preclude it having a thematically satisfying narrative. Not the least of these constraints is the obvious fear around having anyone playable be "too bad," which is why Blade was introduced as an implacable force of ancient vengeance for crimes unutterable, and now he's your 35-year-old coworker who jokes about killing himself. Everything I'm saying here is just interpretation, and it will certainly not be the game's take, since the game's moral reasoning doesn't seem to extend very far beyond "the Astral Express is good guys :)". Accordingly, please take this in an appropriate spirit, as someone looking for griminess and nuance in a game with a distinct deficit of either and an extreme unwillingness to treat its most interesting concepts as anything more than set dressing or very loosely-implied subtext.)

So to start you gotta ask, what is Sunday so mad about? Why does he demand that you debate him?

I. Sunday's Goals: "A Paradise Exclusive to Us Human Beings"

In his own words, what Sunday is fighting against is the fact that the world runs on predation and violence. Order is the enemy not of Chaos, but of Nature, and natural selection.

For Sunday, the problem is not merely that bad things happen in the world, or that the weak suffer. The problem is that the world is cruel in its design. The logic of survival is cruel. The extent of the problem is not just the dove dying to predators, though that is a huge part of it. It's the average worker, required to work at drudgery or worse, usually for the benefit of another, and always under possible threat of deprivation and death, because the nature of the world is that you must work or hurt or exploit or kill to survive. It's the man who sold his children into slavery for the chance at a better life, but more importantly it's those children, an afterthought in the end even to their father.

It's not just the suffering alone that he is responding to, either. In suffering and deprivation, Sunday sees a loss of control and choice. that necessarily entails a loss of dignity and meaning. Both the Astral Express and Firefly object that people should have the right to choose, but Sunday simply responds that they have no greater ability to choose under the status quo. To Sunday, a man who lives in a literal dream world, a life lived struggling for better things might be noble, but it is unequivocally not as dignified or happy as one lived in bliss.

This is part of why he's so fixated on the idea of weakness. Sunday perceives a distinct difference between people who believe their struggles give their lives meaning, and people who do not feel themselves to be free in the first place and thus find no greater meaning in their struggles. He clearly sees the second group as weak (a term he uses without judgment), and unable to fully express and experience their human dignity as a consequence of their position.

Sunday sees the history of Penacony as essentially recapitulating this struggle over and over. Hanunue frees the prisoners, but can neither secure Penacony's permanent freedom nor give the former prisoners full and dignified lives. Then Hanunue dies, and Sunday's sort of intriguingly ambivalent in how he portrays the Harmony taking over. It's actually kind of inspiring and humanist! This is a guy who's still deeply invested in Harmony's ideals.

But of course, we don't need a direct critique from Sunday to know how the Harmony has failed Penacony. We've seen it with our own eyes over and over. Do we need Sunday to tell it to us again when we've already spent our time with Chadwick, and Cocona, and Tizocic II? We have already seen over and over and over again in Penacony how systemic constraints and problems drive people who could have lived bright lives down dark paths, even in the Dreamscape.

Most intriguing is the third act, ostensibly the future, in which Ena arises and then is cast down because the people reject THEIR paradise in which THEY control and define all things. This could kind of be a jump to the past...except that Ena's previous "death" was due to absorption by Xipe during THEIR ascension, not because the people cast THEM down. The only event it appears to bear any resemblance to is...well, you beating Sunday in a few missions' time, because you reject his paradise since it's all in his control. Weird!

Back to the main matter, Sunday believes that true human dignity and flourishing requires not just freedom from outside control by otherss, but freedom from suffering and privation. He sees the weak (in his thinking, people spiritually unable to rise above suffering) as people unable to fully express themselves, who deserve the dignity of a life free of suffering or bitter choices. He spells this all out quite plainly in his opening lines to you when you arrive at the grand theater:

So we know what Sunday wants. And we know his answer to it: the Sweetdream Paradise (as I will be calling it here because I think it's funny and also because the sweet/bitter dichotomy is a huge part of Penacony thematically). He will use the power of Xipe's Emanator (Dominicus, the Harmonious Choir), and the remains of Ena (unclear if these are like, conceptual or metaphysical or what) to become something new (context implies possibly a new Aeon of Philosophy) that will enable everyone to sleep forever, entering a Penacony-esque dream in which nothing bad can truly happen, sustained by whatever new thing Sunday becomes. Everyone will be experiencing life through dreams while Sunday is the only thing awake in the real world, but that won't matter anyways because the dream will be basically the only thing that exists, without even Aeons interfering. It would be a truly human paradise. (One interesting little note here is that Sunday seems to quite clearly resent the Aeons for standing above humans and for offering no true solace to the suffering. No Aeons No Masters)

(I know I said above I think Sunday may have been becoming the Aeon of Philosophy and he says here his intent is not to become an Aeon. But the enemy description is pretty clear that Order and Harmony are forming the shell of an egg for a new god and the enemy is called "[Embryo of Philosophy] Sunday" I think it's pretty fitting both for his Icarian plan and the narrative role of Aeons that he was on the brink of accidentally becoming one, and probably having his original goal and his humanity subsumed into the nascent Aeon's Path. To me that seems an equally fitting ending for his hubris.)

What's really interesting to me about the Sweetdream Paradise is that the game goes out of its way, before it begins, to make it seem like a viable alternative path.

Such a dream could never be stable! Well, with a Stellaron and an Aeon (and idk, an Aeon's metaphysical corpse), all things are possible, so jot that down. You just want to set up a totalitarian regime under your dead God! No, LOL, I also hate God! Did you miss the whole dungeon before this about how much people hate God, and how much I in particular resent God for allowing suffering and human weakness? People will have no freedom of choice! People are free to make whatever choices they like in the Sweetdream Paradise, they just won't ever face bitter consequences as a result. Sorry I'm removing their freedom to [checks notes] sell their soul to the literal devil (hi Jade!) for short-term gain and guaranteed long-term suffering. I'd hate to lose that! People won't be real! Okay, well, Penacony seems to count as plenty real, and it's literally the same thing. Hell, Black Swan is literally a memetic entity who exists only in your perception! But she counts as real. So clearly we're just haggling along some kind of continuum of real-fake here, there's no hard line like people want to say there is.

The implicit purpose of all this setup is to force a true philosophical debate about the suffering of the "weak," the way the status quo demands and accepts this, and whether it can be justified or redeemed by freedom or choice. The other, more common approach would be to use practical limitations as a narrative eject button, e.g. "well, we've learned your Sweetdream will inevitably collapse anyways due to Stellaron Reasons, so even though your purpose was noble and our stance on it is still ambiguous, we have to stop you." I thought this was neat on HYV's part, because I think that other approach sucks. Call it the Legend of Korra approach, if you like: a plotline comes too close to criticizing the power fantasy underlying this particular type of genre narrative, so it's time to "fix" it by revealing the villain as comically evil and actually totally insincere.

So here's Sunday's position: suffering is not just bad but inimical to the truest possible human dignity, and if we can abolish it by means of totalitarian magic god ritual we ought to. How do our heroes respond?

II. Robin – "Which Aeon Can Make Our Dreams Come True?"

Well, first up is Robin, who responds so poorly I honestly felt like the writing was unsubtly overcorrecting for Sunday's position's inherent unpopularity (no one really likes totalitarian philosopher kings and gamers hate being controlled, Gamers Rise Up). She's like, "I get that people feel like they achieve some essential happiness or dignity here, but the big problem with Penacony is that it's FAKE and it's TOO TEMPORARY" and Sunday gets to just sit there and be like "yeah hmmm sure would be nice if someone could answer those problems easily by making the Dreamscape the literal only thing in the world and therefore the realest thing there is and also permanent."

Then Robin makes a hard left turn into completely wild arguments and is like "and that man suffering from a terrible illness who lost everything should have to be suffering in the real world because idk maybe they could have fixed his disease? I'm not like a doctor or anything but they say doctors are real good these days."

Completely deranged argument. Though honestly I kind of love this version of Robin and wish they'd go all the way with her. She's a girlboss bootstraps libertarian pop star let her live that truth.

Anyways here's where Sunday and Robin have their direct argument.

Humans deserve a chance to fly, says Robin. Okay, says Sunday, well we live here in the real world where vast billions of people never will. It's all great and cool for the anime protagonists and pop stars of the world to talk about self-determination and the human right to make your own meaning, but the rest of us live every day in a world where the powerful determine the future.

That last line of Robin's is so funny to me. "If that were true, then only the powerful would have the right to determine the future." BINGO, QUEEN! YOU GOT IT! That's the world you live in! Not one where everyone flies!

When you say "Birds belong in the sky, even if they can't fly," what you mean is "I see the death and suffering of others as acceptable and even necessary to give my life meaning." You can't have one without the other. This is what Sunday objects to.

What's interesting about this is both Sunday and Robin are actually slipping in their attachment to the Harmony. Robin credits her failure to sing to her own weakening faith in the Harmony, and Sunday later claims it was actually due to him and his attachment to Order (and also the whole Oak family's like psychic hive mind of evil under Gopher Wood). But here, Robin is like "Well, the Harmony says we should care for the weak." She doesn't exactly claim the statement for herself. And she shares Sunday's fears that the Harmony is incapable of creating the kind of paradise they both dream of.

So here we are right at the start of Sunday introducing his beliefs, and Robin's responses not only have been kind of weirdly un-nuanced in a way that makes her side look bad (I just can't get over her saying that dude who lost everything in war should have chosen expensive and painful rehabilitation as a moral matter. Robin what are you talking about), but she clearly is sympathetic to Sunday's concerns and is openly asking him what his conclusions mean they should do.

Of course, HSR 2.2 ignored Robin for no discernible reason, so we will be denied any further development of this discourse between the siblings. But Robin will return in the final battle, and when she does, she will both reveal that she is not thinking in the Harmony's terms, and that she has only practical objections to Sunday's course of action, rather than what he really wants: a different and more compelling logic to replace his own.

[iamthedukeofurl]

While what happened to studio ZAUM and the Disco Elysium creators is undeniably tragic, it's honestly the most thematically coherent way that particular story could end. A passionate group of creatives creates a massively successful product, it's weird and innovative and, while it certainly draws a ton of inspiration from various existing works and genres, it synthesizes them into something unique enough that I'd say it would be impossible to predict that there even WOULD be an audience for it until it was released. It's openly political, but not in a way that necessarily makes anybody feel good about their existing beliefs. The entire thing is crafted and driven by deep passion and excellent writing and more than a little bit of insanity. And then, once it became clear that it was a genuine major phenomenon, the investors stole the company and the IP out from under the creatives. Which, yeah, that tracks for the Funny Communism Game. Otherwise, what are the options? The creators make another game, but fail to capture the lightning in the bottle of the original. The ideas that were once so fresh and unique are now expected, meaning that they'll be condemned for failing to reuse them by the people who just want to play Disco Elysium again for the first time, but won't have the same impact on people. Ends with a whimper. "What happened to the Disco Elysium guys" "Oh they made Disco Elysium II: Disco Elysiumer, but it kind of sucked". The creators could make another game, and it's wildly successful again, and they make a ton of money off of it. Capitalism Works and, just this once, people are rewarded for their ingenuity and passion. Eventually you either go back to number 1, or "Makers of Funny Communism Game are rich now". Like, genuinely the best outcome from a "People deserve to be rewarded for putting things people love into the world" standpoint, but thematically a bit eh. Worst case scenario, you get a repeat of Notch. I guess a variant of option 1 has them TRY to catch the lightning in a bottle again but fail to make anything they're satisfied with as the studio breaks up in frustration in an ironic repeat of the in-game story of Fortress Occident.

Instead, they make Funny Communism game, it's wildly successful, but instead of receiving the rewards promised under capitalism, somebody leverages the fact that they have access to capital to steal the studio out from under them and claim the rewards of their passion and labor. Karl Marx would have something to say about that.

[miyamiwu]

I thought this was common knowledge by now, but apparently some people don’t know that both Vein and Xia Fei are ambidextrous.

It’s more obvious with XF:

Xia Fei uses his left hand to draw and write in his PV:

Left hand to point, but right hand to do the shush gesture

Right hand to shake CXS’s hand and hold his beer

Left hand to pound on the table, but right hand to hold chopsticks

Left hand when on the phone with Vein/LX:

But right hand during his flashback:

Oh, and also right hand to “defend” ShiGuang

As for Vein’s hands, I’ve listed all instances of them from the show here (except for the latest episode). As many have noticed, he used his left hand more in episode 1. He prefers his right the rest of the time—except for when he flicked XF on the forehead and patted his head. He used his left hand then (his fan was on his right).

Then in Bloody Storm, we have this:

Left hand to topple the wine glass but right hand for everything else

Edit: also to topple the mahjong tile

Now, Xia Fei being ambidextrous is no surprise because everything about him comes in two’s (yellow-black hair, possibly half Chinese, his character color being the liminal traffic light Yellow, both red and green traffic lights in the ED turned on while his ad plays in the background, second survivor in a fire that was said to have only one, etc.)

As for Vein, I’m not gonna jump into conclusions since his own episode (the finale) is yet to air. However, I have an inkling that how he uses his hands has something to do with his ability (which I believe he has; it just hasn’t been revealed)

Lastly, Hands are an important thematic element in Yingdu:

I haven’t gathered my thoughts about it yet, so have my Discord rambling for now.

But bottomline is that Hands, in Yingdu, are a means of forming/rejecting bonds. VeiFei being able to use both their hands must have some thematic significance.

A reason like “Vein is actually XF in episode 1” just feels so lame, tbh. If this were a normal season, then whatever, but Yingdu has been more on Themes than Plot/Logic. Additionally, it has been focused on creating Emotionally Satisfying moments over mentally stimulating ones...

Vein/Xia Fei using their hands have to mean something on a deeper emotional level for it to align with the themes of relationships that Yingdu heavily emphasizes on

[senseandaccountability]

I never feel older, crasser or more like a dry, boring literature nerd than when people say they find non-ascended Astarion’s ending so sad and wish there was a better one. To me, this is one of the best written storylines in the game. In all of the RPGs I’ve played, even. It’s extremely emotionally rewarding and thematically satisfying and boy, am I not used to that from my favourite media. (Forever looking at you, Lucifer.) Is it bittersweet? Absolutely. But tragic? No. 

Astarion rejecting the ritual despite knowing what it means is anything but tragic - it's powerful, it's the best and most resilient in him shining through. Regardless of how shitty the circumstances were, he made a choice when he made that deal with Cazador. A choice that gave him two centuries of hell. His life as a puppet to Cazador was a tragedy, it left him with no choices, it limited his every move and infringed on the freedom of his mind. It had one driving force: to make him a malleable tool, to help up the stakes in an already viciously brutal system. 

In Cazador’s manor he is faced with a choice once again. To him, as obsessed with the ritual and the lure of power as he is during that questline, the circumstance must feel similar to the ones in that street corner when the Gurs had beaten him to death’s door. Death or power. Except it’s not. 

That’s not the deal and it never was. “Having it all” was never, ever on the table. (None of us can have it all outside of self-help books, come on.) There will be a sacrifice either way, just like there was when he sacrificed his autonomy and freedom for eternal life. Astarion’s quest is about seeing through the delusions and trappings of power. It’s about preserving a sense of self, humanity, your soul if you will, no matter how dire the circumstances. It’s about daring to hope that you can change.

“This is a gift, you know. Thank you, I won’t forget it.”